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Date

Friday 21 June 2013 at 8:30pm

Location

K4 Students Club
Celetná 562/20, Praha, 11000, Czech Republic

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Description

Rčení „být papežštější než papež“ nemá obvykle pozitivní konotace. V případě belgičana Brama Devense (aka Ignatze) jde však v jeho vztahu k blues o jednoznačnou vyjímku, marně byste dneska hledali poctivějšího hudebníka, který blues dokonale ztělesňuje v jeho dřevní, zašlé a vřele lidské podobě.
Poťouchlý myšák jménem Ignatz vznikl v roce 1910 jako antagonista řady komiksů Krazy Kat a mezi jeho oblíbené kratochvíle patřilo hlavně metat cihly na hlavu nebohé číče, která si to vykládala jako projevy lásky. Příběh, jenž se u současného Ignatze téměř vždy znovu a znovu dočtete, ale velmi dobře vystihuje jeho tvorbu, jeho vlastní arzenál cihel, které mohou mířit i na vaši hlavu.
Sem tam se v souvislosti s ním skloňuje Jandek, ale Ignatz je úplně jinde, avšak klidně taky ve škatulce outsider folku. Jeho spontánní improvizace občas skrz smyčky a patinu šumu končí v rozvazbených vlnách nebo střídmých ozvěnách prázdnoty, čímž může připomenout kytaristu Lorena Connorse, i s jeho extrémní naléhavostí, kterou uslyšíte ovšem jen tehdy, když budete skutečně naslouchat.
Ignatzovy řadovky, to jsou ale většinou prosté skladby z dob dnes známých spíš už jen z vybledlých fotografií, nejinak je tomu u páté Can I Go Home Now?, která právě vyšla 3.6. u finských Fonal Records. Ti se tak zařadí po boku labelů jako K-RAA-K, Conspiracy, Celebrate Psi Phenomenon, Not Not Fun, Staalplaat (Mort Aux Vaches) a mnoha dalších, kde Ignatzovy nahrávky vyšly. Je to už pět let, kdy u nás Ignatz zahrál s LSD March (pokud nepočítáme jeho návštěvu v rámci kolektivu Sylvester Anfang), tak se moc těšíme na jeho druhé vystoupení.

„Pozorně poslouchejte a rozpoznáte skutečný návrat amerického folku. Žádné vousaté kytárky pohledných hippíků a snaživých neotrubadúrů. Tohle se nachází daleko před nima i pod nima. Hudba je hlučná a nespoutaná. Nevypráví o oblacích, ani o spravedlnosti. Sem tam na sebe ale vezme břemeno každého pravého blues, což je zúčtování s tíhou minulosti.“ Pitchfork
http://www.ignatz.be

Hans Dens, dnes říkající si Innercity, je další navrátilec. V roce 2009 u nás hrál spolu s Jamesem Ferrarem, Spencerem Clarkem, P.A.R.A. a Dolphins Into The Future, tehdy ovšem jako Infinite Space Research Program. Podobně jako u ex-Skaters dua, se kterými ho pojí i hudební spřízněnost, nezůstalo jen u těchto dvou pseudonymů (mimo jiné také DJ Ketamine). Jestliže počátky byly víceméně experimentální audio dokumenty účinků psychotropních látek, později Innercity našel svébytnější jazyk. Tzv. „hauntologie“ (připisovaná z velké části právě Skaters jako pionýrům) tu zanechala naštěstí jen opatrné stopy a retro-syntezátorová fascinace nebředne hluboko do new age po vzoru Emeralds, ale má mnohem blíž k nedefinovatelné poloze Daniela Lopatina (Oneohtrix Point Never). Rozpouštění vzorců, znejišťující dadaismus, modulární chaos,... dalšími referenčními body můžou být Nonhorse, Motion Sickness Of Time Travel nebo Ekoplekz. Lo-fi techno i field recordings z „třetího světa“.
Na turné ovšem budou Innercity v trojici – kromě Hanse i Father Sloow na kytaru (který se tu letos objevil už jako překupník pásků doprovázející Gonzáleze & Steenkisteho a Urpf Lanze) a David Colohan na saxofon (mj. z vynikajících United Bible Studies). Máme čekat prý experimentální psychedelický prog rock...
http://hansdens.tumblr.com

Rouilleux svými koncerty (a také debutovým albem) stále stvrzuje, že jde o písničkářský talent, jakých je v tuzemsku naprosté minimum. Místo původně avizovaného sólového vystoupní bude nakonec kompletní kapela, nově i s Petrem Vrbou (bicí, dechy). Těšit se můžete určitě i na úplně nové skladby, v létě je pak čeká vystoupení na Colours Of Ostrava. Ač stylově jinde, těžko by se k Ignatzovi hodil někdo jiný, právě kvůli vnitřní síle skladeb.
http://rouilleux.net

Lo-fi folkový objev domácí scény Strangers In The City, duo z Veselí nad Moravou, má s Ignatzem zase společnou zvukovou patinu. Jejich krátké skladby netrvají ani o okamžik déle než musejí, vše, co je potřeba říct, je řečeno. Mají za sebou třeba úspěšnou účast v soutěži 1 Man 2 Play, nasazenou skladbu do hitparády Rádia 1 Velká Sedma a ep na vydavatelství Červený Kůň.
www.facebook.com/strangersitc

21.6.2013 od 20:30 za 200 v pražské K4 (Celetná 20).
http://letmo.net/productions
http://carymlhy.blogspot.cz
http://www.k4klub.org

In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love). Landen, Belgium based artist Bram Devens uses Ignatz as his alter-ego, and comes armed with his own pile of bricks; sparse, emotive songs born of the human condition, wrapped in effects, corroded by tape, driven forth by improvisation and spontaneity.
Whilst ‘Can I Go Home Now?’ is Ignatz’s first Fonal release, it is in fact his fifth full-length album proper (his seventh if you count the Kraak 2011 Cassette Compilation and 2010’s ‘Mort aux Vaches’ live LP on Staalplaat). Recorded in Schaarbeek, Brussels, Belgium between 2011 and 2012 on four-track and computer, the album sees Devens shift his focus toward more exclusively song-based compositions, cut largely from unabridged electric and acoustic guitar.
Ignatz’s songs stem from a familiar stripped folk framework, with Devens’ delivery recalling the louche primitivism of V.U. or Henry Flynt - but these songs sound inverted, cast adrift, their cool touch belying a stymied heat beneath the surface. Where Devens’ fretwork is adorned, it is executed with a refined coarseness. Autonomous loops entwine each other. Songs brush past percussion, bass notes, or a scant keyboard motif. A voice recedes from the heart of the song into a dislocated, cracked drawl. And yet if Ignatz does occasionally recall the ghost of Jandek, there are moments of warmth and beauty, as sunlight glistens on the ice.
Almost diaristic in tone, Devens’ personal experiences echo throughout the albums artwork and the title itself, as well as the music. “The artwork is a drawing of a dog, a boxer called Gibbe. It is a drawing by myself from 1994 made in Budapest, Hungary, just after Gibbe died at the age of 13 from meningitis. A family holiday went bad. Because we did not want to leave him in Hungary we decided to wrap him in plastic and tie him on the roof of the car and drive back to Belgium (which took us 2 days and the body started to smell). This was the last holiday I spent with my parents, and this moment defined the end of my childhood, more then any other”.

Ignatz toured Europe, United States, Canada, Japan solo and with, amongst others; US girls, Ducktails, Chris Forsyth, Es, Lsd March, Greg Malcolm, Bridget Hayden, Paul Labreque,...Collaborations with ao; Harris Newman, Cam Deas, Bram Borloo, Paul Labreque, Laurent Cartuyvels, Sami,...
His music is used as soundtrack for ao “Altiplano” (2009- Peter Brosens, Jessica Woodworth) and “What’s in a name” (2009- Eva Küpper),..

“The music of Belgium's Bram Devens, aka Ignatz, owes something to the lonely, creepy work of Jandek. But, like Zachary Hay, another artist we've discussedwho has Jandekian leanings, Devens uses Jandek as a launching point rather than a role model. On I Hate this City, that inspiration lands him in an array of sonic scenarios, from eerie blues to muffled garage-rock to wandering, Faust-ian instrumentals, all coated in a dreamy aura that belongs solely to Devens.” – Pitchfork

“Ignatz his noisy and ramschakle interpretation of the blues stands on its own and outside of time .” – De Morgen
“Bits of folks and blues surface here and there, but are slowly and methodically transformed into a whole new shapes and sounds. Every melody, at first warm and inviting, begins to twist and change, becoming some bastardized blues, sometimes broken down into jagged shards and stumbling cadences, other times splattered into glimmering glistening sonic sparkles.” – Aquarius Records

“Yet the Belgian Bram Devens has traversed time, ocean and the war to speak the language of that great wilderness...Listen Carefully and you will catch the real American folk revival unfolding, not the bearded acoustics of handsome hippies and earnest neo-troubadours. It lies behind them and beneath them, and yes even in Brussels” – Pitchfork

“Ignatz 'l' was without bullshit the best debut in years in Belgium.” – Rif Raf

“Ultimately, what sets Ignatz apart is that he’s exploiting lo-fi techniques creatively rather than simply creating a patina of authenticity and sincerity" - Keith Moliné, The Wire

"What’s most interesting about Ignatz’s sound is that his dirty work doesn’t feel superfluous, not present simply for the sake of sullying up an otherwise sparkling recording. Devens rarely allows any detritus to obscure the central motifs of a composition, instead, he finds a way to use the lo-fi recording and purposeful imperfections in order to sound more direct.” – Adam Strohm, Dusted magazine

Innercity is the brainchild of Hans Dens, prodigiously translating his vision journeys to auditory dream-language since 2008. Early releases are mostly experiments on the influence of various psychoactive substances, released under different moniker on Dens’ cassette-label Why So Serious? (2008-2010). That is also home to ethnic popular music compilations / bootlegs he collected on travels to Morocco, Cambodia and Laos. Late December 2009 Innercity’s debut album “In Fetal Aura” was released on Upstairs. The closing track thereof “Free Spirit (Dead Body Walking)” is a small cult classic. Later on summer 2011, the “Boy In Forest Trying To Hotwire The Earth” cassette on Not Not Fun showcase Innercity’s cyber-psych strategies in peak form, arpeggiating in violet radiation and interstellar VCR meltdowns; trance music in its strictest meaning.
After touring with James Ferraro, Spencer Clark and Dolphins Into The Future in Europe, April 2009, live shows have been scarse but intense, with Dens often wearing a mask and sitting with his back to the audience using scissors and cardboard for making beats and backings, breathing weirdly, looping the crowd to places they didn't expect to go.
Since February 2013 HD teamed up with Bart (Youngherr) Sloow to be able to perform as a full blown psychedelic rock outfit. The duo has since recorded a 7" for Great Pop Supplement's offspring DEEP DISTANCE and a full album called 'Return Of The Solar Falcons", to be released on cassette by Sloow Tapes for the upcoming May/June concerts. The duo blends a violent share of "standard” Innercity, spontaneous prog rock simulation and oriental mysticist dada. To be an experiential and psychedelic live experience.

”Another of three new releases this week on the Upstairs label run by Daniel Lopatin aka Oneohtrix Point Never. Innercity, the work of Belgian synthscaper Hans Dens, sounds right at home here, in fact, had we not known, we very well might have assumed this was Lopatin himself, as Innercity traffics in the same sort of spacey futuristic sci-fi synthscapery, although Dens has a few tricks up his sleeve. Like taking sampled sped up voices, and adding a flurry of looped beats, creating a dizzying minimal abstract dance music, stripped down and skeletal, but it's around track three that Dens stops messing around and gets down the the business of crafting some murky synthy weirdness, fuzzy crumbling bits of clipped synth are lopped into warped seasick rhythms, the tape threatening to crumble, as the drop outs and hiss add all sorts of texture to the proceedings. Other tracks take murky almost heroin house sound throbs, and douses them in fuzzed out muddy glo-fi warble, the sweet melodies barely audible through the haze, but the sum total gorgeously hypnotic. Elsewhere, seventies cop show meets eighties late night cable thriller via a melted synth with a malfunctioning motherboard, reminding us of James Ferraro or Monopoly Child Star Searchers, total lysergic hypnogogic pop. The disc offers up all sorts of variations on outer space / inner space synth damage, bleeps and bloops, distorted low end thrums, warped chordal whir, twinkling prismatic and cinematic pulses, and in the last track, some serious Carpenter / Goblin / Oneohtrix retro soundtrackery. Weird and wonderful, and definitely a new favorite.” (Aquarius Records)

„Endlessly fascinating LP, even for those with a yearning for weird music. Unusual and individual set of tracks. Deep, contorting rhythms bubble up from unconventional sources, with layers of effects and tape saturation over broke-sounding drum machines and auras of noise. Hypnotic and disorienting, hanging around on the far left of the field. Recommended!“ (SOUNDS OF THE UNIVERSE – Londen)

„‘A Lion’s Baptism’ is raw, uncut contemporary psychedelia of the queerest, vital calibre. It sounds like a man losing his mind in the machines as an example to everyone else of what’s possible in there, locked in the loop, eyes shut, spiralling thru intense vortices of kromatic kaos and visceral, transcendent noise.“ (BOOMKAT - Manchester)

„ Seattle-based Further Records, one of the foremost experimental electronic imprints going.
Dens buries (and alternately reveals) a stunning melodic sensibility akin to Emeralds' most accessible, shining moments, but with a method that feels more improvisatory and accidentally brilliant than anything else. For the presumably insular narrative surrounding Dens' music, Lion's Baptism shares aesthetic preferences with the darker spectrum of techno. Imagine Raime helplessly rattling chains in a dungeon and that's kind of what the frightening "Bodycells Fortress" sounds like. The struggling "There with the Boxer, the Fog and Pale Queens in White Panties Dance" (catch your breath) smacks of the modular work of artists like Ekoplekz, while a mid-section of short, spiky bursts of noise reveals the antisocial side of Innercity is as active and potent as ever. Do your best to listen through the suffocating smoke of "Blind Guide Killing a Lioness" and you'll hear what sounds like a techno track burning itself alive.
Epic centrepiece "Birthnight" births a smothered techno beat from five minutes of machine gleam and whistle. Thumping from below, dripping with distortion and scarred frequencies, it's bound to scare as many people away as rope them in. Ranging from eerily piercing ambient to beautifully resonant lullabies to savagery that makes Perc Trax sound polite, Innercity is the kind of experimental/noise artist that ostensibly appeals to those listeners who don't necessarily buy a round of cassettes every week. Further's decision to stamp this one onto wax makes sense, because it's a standout on their label and in Dens' discography.“ (Andrew Ryce – Resident Advisor)

„Fresh from his ace 7" for NNA Tapes, Belgium's Hans Dens drops his 2nd vinyl LP of lo-fi hypnagogic synthscrapes. His latest blown-out Techno odyssey scrambles the coordinates between Krautrock, minimal synth music and Belgian beats, hovering in an illusory interzone of self-organising synth music and almost unconsciously programmed arrangements. Through the A-side we encounter the lolling, eyes-shut 'Opiate Vague' which sounds somewhere between Hype Williams and Rabih Beani, besides the decaying topographies of 'Pai Apnan/Pai Nan' like Motion Sickness of Time Travel on a bad trip, and the submerged murk of 'Grind At Heart'. Flipside the journey becomes more fractal with a series of shorter tracks morphing from humid cyber-tropical simulations reminding of L.J.R. Martens to infernal dream noise and chewed techno, before spitting us out on the mind-decompressing drone pressure systems of 'Baby Food'. Most excellent.“ (Boomkat)

„Hans Dens returns with another master opus on vinyl, following up his other two epics of recent history, Future Life and Backworld. He morphs and molds twelve more lo-fi synthscapes that smack of his brand of electronics. However, with Terrestreality we find him a little more focused, honing in a particular form of ambiance. This more specific side of his project’s personality is one that seems to blend together a few common themes through the analog auras. There is a sense of a darker cosmos, an environment that is more subdued and less animated. There’s also an eschatological urgency, one that finds the end near yet only to give way to a fuller universe that expands ad infinitum. There is finally a more expressive angst to his repertoire, and this might be due to the subtler and maybe even mature approach on this one. I might be mistaking his softer, more introspective side for melancholia, but I get a sense of isolation and despondency. All of this makes for a cohesive listen that gravitationally pulls you into a futuristic space dream that has a despairing meditation at its center. Innercity proves to be an important act again and again—Terrestreality being no exception. If you like the quirky mayhem of some of his other releases then stay away from this, but if you like his zones that deliver unlimited contemplation then this will be irresistible. Don’t miss out! The visual aesthetic continues his faded computer-age abstractions that you find on the LP sleeves of his other records.“ (Dave Miller – Foxy Digitalis)

„Another fantastic collection of murky, sci-fi, new ageish, synth-wave, soft-noise dronescapes from this Belgian audio alchemist. Low fidelity mad scientist concoctions of muted mechanical crunch, woozy myopic shimmer, hazy soft focus whir, buried hypnogogic melodies, sonically similar to countrymen Dolphins Into The Future, as well as folks like High Wolf, Skaters, etc. Innercity, aka Hans Dens, takes all those elements and blends them into retro-futuristic miniature soundtracks, each track evoking some strange alternate universe, some long lost and buried civilization, decaying tape loops unwind crookedly, bunching up into warped soft squalls of blurred melody, cacophonous collisions of metallic crunch and layered thrum, bleed into each other, and are seemingly viewed through broken panes of frosted glass, everything gorgeously shadowy and indistinct, fractured rhythms stutter and stumble beneath clouds of Eastern melodies and effects drenched squiggles, occasionally locking into total Goblin/Carpenter sinister synthscaped ambience, or lurching machinelike robo-funk, the motorik pulses skittering over buried slowed down vocals all wreathed in a fuzzy haze, sometimes overtaken by heaving walls of crumbling shoegazey crunch, other times gradually blissing out into barely there swirls.
The lp comes with a cassette, featuring nearly an extra hour of music, parts 3 and 4 of Innercity's Future Life songsuite, one part washed out gauzy minimal drift, a darkly meditative sprawl of hushed shimmer, the other a futuristic bit of ultra lo-fi loopage, murky and blurred, which eventually gives a way to a fantastically lysergic bit of hypnotic electronic minimalism.“ (Aquarius Records)

„There is nothing to dance to in “Future Life”: this is one of the most hardcore neo-new age albums that has been released, a shot of planetary psychedelics and prehistory of the synthesiser that will have people who think that the best human being who has been born since Buddha is Klaus Schulze drooling.“ (Playground magazine)

„This one makes for a great headphone listen, with maximalist use of hallucinatory headspace. A major statement.“ (Volcanic tongue)

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